Atlas of a terra incognita. Reveailng reliving Bagnoli

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A

T

L

A

S

of

a

Te r r a

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RE

VE

AL

IN

G

R E

L I V

I N G

B a g n o l i

written

by

| FABRIZIA MATTIELLO |

a.y. 2016

Relator_

ELISA CATTANEO

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Thanks To my mother, the woman that always inspires me To my father, the man that will always protect me

To my brothers, who did not had let me alone To all my family, that will always support me To those friends...shoulder and light of my life To myself, the only one to choose who wants to be

To all tutors that during those years had loved to share their knowledge with me Special thanks to prof.ssa Elisa Cattaneo that helped me to realise this work

prof. Beniamino Servino for his contribution

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INDEX

| L OCATION_VIII

| L AND USE_X

| H ISTORY_XIV

| N ECESSITA’ MONUMENTALE NEL PAESAGGIO DELL’ABBANDONO_XXVI

| M APPING ZONES_XXXVI

| U RBAN - G EOMORPHOLOGICAL ANALYSIS_XLVIII

| A NALITICAL DIAGRAMS_LVI

| R E-USE OF INDUSTRIAL ARCHITECTURE_LXIV

| F ROM THEORY TO PRACTICE_CLXII

| W here AM I ?_CLXIII

| B IO-MORPHOLOGICAL IDENTITY_CLXIV

| W hat is a DELAISSES?_CCIV

| P RIMARY < SECONDARY Territory_CCV

| T ERRA INCOGNITA_CCVI

| R OBERT GREEN_CCVII

| T HE UNKNOWN as INVESTIGATION_CCX

| [E]U > good / TOPOS > place_CCXIV

| T HE ART to REMEBER_CCXVII

| A LDO ROSSI / LUIGI GHIRRI_CCXVIII-CCXIX

| K ATASTERISMOS_CCXXI

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VIII IX

X

(6)

X XI

(7)

XII XIII

Sport field

Water void

Parking lot

Park

Indusrial architecture

Built up volume

Sea

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XIV XV

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XVI XVII

1853

Birth of the Glassmake society Lafevre

1905

Construction of Ilva’ s structure of Bagnoli, on a surface of 12ha; 2 Altiforni 4 Forni Martin

1908

The glassmaker, already dected on

the 800s from the Colli e Concimi’s

society, goes to Montecatini that

in-stalled its own pruduction line of

copper sulfate, p h o s p h o r i c

acid and phosphate fertilizer.

1910

Ilva’s inauguration that give jobs to 2000

workers. Structured with the logic of an

integrated cycle: receiving raw materials

by sea and provides for the dispatch of

the finished product at the same way.

1917 |

1919

The war greatly increase the

pro-duction of Napolitans

establishmen-ts: Ilva, Partison, docks and Airports;

in 1918, give a job to 4000 workers.

1920

The post-war crisis determines the

closing of numerous factories; Ilva

will remain blocked until 1924.

1927

Birth of the first Italian cements company

at Ilva; the Cement Coastal Company.

Birth of the Genovese

com-pany Eternit that

produ-ce produ-cement-asbestos manifactures.

1936 |

1938

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XVIII XIX

1939

Complete

transforma-tion and completransforma-tion of Ilva.

1943

Germans troops destroy what has

sur-vived to the Anglo-Americans

bom-bing. Ilva is blocked, the Eternit

demoli-shed and the port of Naples is paralyzed.

1946

At Ilva resumes working mills and

steel, but the pre-war production

ca-pacity will be retrieved only in 1951.

1954

Birth of the Cementir with the aim

to use a byproduct of steelwork as

raw material for the production

of cement: the blast furnace slag.

1961

Birth the Italsiderfrom the fusion of the

Ilvas with the Cornigliano. In this

pe-riod the production per yaer is about

860.000 of cast iron and 820.000 of steel.

1962

Investments of the Finsider; the

con-struction of a steel industry of the

Ilva based in Taranto and the

exten-sion of the Bagnoli’s factory to

increa-se theproduction. The need to

acqui-re new spaces with a “colmata” in the

sea. This project will involve around

70.000 of investment and 800.000 new

jobs in addition to the existing 4.600.

1964

Montecatini is absorbed by

Mon-tedison, which in 1975 takes over

the Federconsorzi that

termina-te the copper sulphatermina-te production.

The deindustrialisation process forces

the Italsider to resize the production.

1964 |

1966

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XX XXI

1970

A new PRG has changes that affect

the industrial settlement of

Bagno-li; the 30% of the total area along the

coastal strip is destined to

equip-ped green with tourist facilities. The

70% goes to manufacturing

activi-ty, with an high technological

con-tent, as well as plants and equipment

for the research applied to industry

1973

Italsider proposes the construction of

a new rolling mill and a new

conti-nuous casting plant. In 1975 the City

Council adopts the variant;

rreali-ze modernization projects,

integra-tion and expansion of existing

facili-ties, including the new rolling mill.

1978

The next report of the steelmaking

Com-mittee chaired by Pietro Armani has

plan-ned “the gradual Bagnoli’s closure” since

“rationalisation and restructuring” cannot

be achieved with current zoning

regula-tions. A new Variant that erase provisions

on the entire Western industrial area.

1985

Closes the Eternit factory

beacau-se of highly harmful works. The

area was bought by Mededil Spa.

During the 1989 there was an

ini-tial environmental remediation.

1989

As a result of the downsizing of the

na-poletans productive apparatus, the

Ital-sider has toclose. Cementir, after

fai-ling the provision of ground granulated

blast-furnace, converts the structures to

make them suitable forthe pozzolana use.

1991

The Federconsorzi ceases all

activi-ties and was liquidated. Will then

be detected by the Fondazione

“Idis-Città della Scienza” in 1993.

1992

The definitive closing of the Italsider.

Many lost of jobs. Remembering that

in 1973 the Italsider occupied 7698

unit. Cementir is not considered

di-scharged but temporarily inactive for

market reasons 327, the Eternit 604,

the former ex-Federconsorzi 165,

for a total of 8794 employees,

wi-thout counting ancillary employers.

First demolition and disassembly;

me-tal structures, machines and masonry.

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XXII XXIII

2002

Delimitation of polluted areas.

Groun-dwater control to prevent the discharge of

polluted water into the sea. Pumping

hy-draulic barrier (31 wells).

Physico-che-mical treatment plant. Charging barrier

2002

24th of April .

Birth of

Bagnolifutura S.p.A. for

Ur-ban Transformation.

Naples Government 90%

Campania Region 7,5%

Naples Province 2,5%

Project for specific Urban

Transforma-tion intervenTransforma-tions, in order to

correct-ly use Time, Resourcesce and Quality.

2003

Request to adopt the Executive

Ur-ban Plan of Coroglio-Bagnoli.

Geochemical features of the area have

been examined to be reclaimed.

R e s u l t s ;

PAH Polycyclic Aromatic

Hydrocar-bons. HOT SPOT limited areas with

a high concentration of heavy metals.

MAC Material Containing Asbestos

1999 |

2001

BAGNOLIFUTURA

MISSION

_acquire areas allocated by the City Council in the Constitution of

the Stu (Bagnolifutura owns about 200 hectares but has the

commis-sion to operate on about 300; acquisitions are underway for areas of

the State Railways, State property, Cementir and other minor owners).

_reclaim areas of ex-Italsider, ex- Eternit and those that

then will be acquired.

_designing and building the urban

transfor-mations, related to existing planning tools.

_marketing areas to private investments.

_managing public facilities.

Bagnoli’s operation has an estimated cost of around 1.6 billion, between public and private investments.

Area di proprietà della Bagnolifutura 188 ha Area nella giurisdizione della Bagnolifutura 339ha

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XXIV XXV

2008

Sale completion of lands of the area

4 of the Pue “Cocchia” and start of

procedures to implement the

crea-tion of the Technology Pole, a

cen-tre that aims to accommodate

com-panies that are specialized in the

production of eco-friendly services.

2011

Where seized two of the seven

hecta-res because of failure reclamation. The

contextual presence of the Technology

Pole of Città della Scienza in the same

area, also soon the changing

prospecti-ve in the interest of lenders, which hold

back, brought the project to failure.

2013

The Bagnolifutura projectthat is in

actual crisis has the final shot. In April,

the areas of ex-Italsider and ex-Eternit

of Bagnoli are seized as part of an

in-vestigation by prosecutors of Naples

which suppose an environmental

di-saster. Closing of all construction sites.

The previous month, an arson destroys

the science centre of Città della Scienza.

Approval of the executive

develop-ment plan of Bagnoli-Coroglio

speci-fying how and what transformations

has to be made. The plan calls for the

maintenance of some buildings

con-sidered as “industrial archaeology”,

and secondly the identification of an

Urban Transformation Society (Stu).

2005

2014

On May 29th the Naples tribunal, given the

impossibility of Stu to pay 190 million euros of

debts incurred, declares bankruptcy of

Bagno-li Futura, whose 59 employees laid off are

sor-ted in other investees of Naples municipality.

BAGNOLIFUTURA

2016

The area was entrusted to the urban transformation company of

Bagno-li Futura spa in charge to clean up and redevelope the old industrial complex.

According to the Vagliasindi consultant, the company would have

re-claimed a large proportion of total Bagnoli Futura soils of which;

_ the 44% certified by the Ministry.

_ the Eternit cement processing plant would

have been reclaimed for the 60% or

approxi-mately 45 thousand tons of disposal asbestos.

The rise in costs would, however, linked to the discovery

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XXVI XXVII

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XXVIII XXIX

ATLAS of a

Te r r a INCOGNITA

personal statement for my thesis written by

BENIAMINO SERVINO from

Vacua Forma.

… … … …

Per fortuna ognuno ha la sua utopia personale. Luckily everyone has its own utopia.

… … … …

Il Pittoresco mi inorridisce.

Io porto l’archetipo alla dimensione ipertrofica. Da Massive Attack.

L’abbandono, quando lo trovi, è la quota zero da cui partire. L’uso [anche improprio] come strumento di conoscenza.

L’uso improprio di un monumento. Io sono un Iconoclasta essendo stato un Idolatra.

… … … …

LA CONTAMINAZIONE DEL MONUMENTO Occupazione popolare dei monumenti.

L’occupante passa, si sposta, dalla condizione di idolatra a quella di iconoclasta. L’occupante avendo a lungo osservato il monumento da lontano, con rispetto religioso, nell’atto di occuparlo CONSERVA il ricordo di quell’amore, così che la sua azione di occupazione

- per quanto dura possa essere - lascia in vita l’oggetto stesso del suo amore.

Qui, la contaminazione del monumento è, significa, lasciare nel monumento tracce di sé.

Lasciare nel corpo amato tracce di sé.

L’uomo, attraverso la occupazione, costruisce una relazione fisica tra sé e l’oggetto del suo amore.

… … … …

Incompiutezza: fase di non-completamento.

Incidentale interruzione e pausa. Estetica del non-completamento.

Ripresa [in tempi diversi e non prevedibili] da parte dello stesso Autore o da parte di Autori differenti dal primo. Permanenza delle tracce. Estetica del palinsesto.

Palinsesto-sovrascrittura processo inevitabile e generativo.

| Aesthetics of the Palimpsest. Palimpsest/Overwritten-texts.

Inevitable and generative process for the construction of the shape |.

Revisione dell’Assioma della COMPIUTEZZA.

Questa [revisione] non produce il nuovo Assioma della Non-Compiutezza [Incompiutezza] ma produce invece una categoria

[quella del Compiuto] che si ri-definisce continuamente.

Un edificio compiuto si prepara a diventare un nuovo edificio compiuto. ...

Per una TEORIA DEL PALINSESTO.

Sull’approssimazione e sulla compiutezza.

La approssimazione è una condizione ineluttabile verso la compiutezza. La compiutezza fisica ha un tempo finito.

Un edificio compiuto si prepara a diventare un nuovo edificio compiuto che del primo contiene e mostra le tracce. La approssimazione è una condizione necessaria verso la compiutezza.

Il processo verso la compiutezza passa per infinite incompiutezze.

ATLAS of a

Te r r a INCOGNITA

… … … …

LA FORMA FINITA È PROVVISORIA. Revision of the Axiom of COMPLETENESS.

This [revision] does not produce the new Axiom of Non-Completeness [In-completeness]

but a a category [the Completed] that continually renews its definition that does not rule out a new and additional configuration of the finished-completed. ...

Towards a THEORY OF PALIMPSEST.

[This is not an apologia of interrupted buildings or predisposed-to-growth architecture.].

LA FORMA FINITA È PROVVISORIA NEL PAESAGGIO ANONIMO.

THE COMPLETED SHAPE IS TEMPORARY IN THE ANONYMOUS LANDSCAPE.

LA MEMORIA È UN PIANO DI POSA

/Memory is a substructure.

Nella costruzione della città, nella costruzione del paesaggio,

le tracce del passaggio altrui sono piani che si dispongono a ricevere altri piani che li ricoprono. A formare una lenta, preziosa, stratigrafia.

Questa è la quarta dimensione.

… … … …

ELOGIO DELL’ECORESIDUO SOLIDALE. LA GABBIA DEL SOL LEWANTE.

Svuotato di ogni funzione possibile il residuo mostruoso come esercizio di una estetica della stratificazione contro la propaganda salva-coscienze del pittoresco intoccabile.

SOL LEWITT’S CAGE.

PRAISE OF JOINTLY LIABLE ECO-RESIDUE. THE SOL LEWITT CAGE. [CAGE OF THE RISING SUN].

Emptied of every possible function, the jointly liable eco-residue becomes an exercise of an aesthetics of the stratification against the saving consciences propaganda of the untouchable picturesque.

… … … …

IL PAESAGGIO NON È L’AMBIENTE.

L’Ambiente è lo spazio tridimensionale dove accade la vita, il Paesaggio è il piano bidimensionale che lo rap- presenta. L’Ambiente elenca salubrità, sanità, biodiversità, biovarietà e il loro contrario.

Il Paesaggio documenta un palinsesto [una stratigrafia che mostra tutti gli strati].

L’Ambiente è diacronico. Il Paesaggio sincronico.

Il Paesaggio non si costruisce [o ricostruisce] su modelli.

Il Paesaggio tiene insieme, con simultaneità, le super- fici che lo compongono.

Il Paesaggio non articola gerarchicamente le parti che lo compongono, le tiene dialetticamente in equilibrio.

THE LANDSCAPE IS NOT THE ENVIRONMENT.

The Environment is three-dimensional space where life happens, the Landscape is the two-dimensional plane that represents it. Environment lists wholesomeness, health, biodiversity, and their opposite.

Landscape documents a palimpsest [a stratigraphy showing all layers].

The Environment is diachronic. The Landscape synchronic.

The Landscape is not built by reproducing models.

The Landscape keeps together, simultaneously, detaching the surfaces that compose it.

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XXX XXXI

E N U N C I A Z I O N E / A N N U N C I A Z I O N E

Abuse. Misuse, excessive, immoderate, illegitimate. I live too much, I do it excessively immoderately illegitimately. Abuse. Illegitimate exercise of power. I exercise the power to illegally change the landscape.

“Di-segnare” your territory, or just a field. One bank. And, while I edit illegitimately place of my need, make it vulnerable [the place, not the need]. We’re vulnerable together

[me and all, the active and the passive part, one another]. We live vulnerably, admirably.

Necessary. From which there is no way to retreat. I cannot withdraw from a need.

Abandon. Leave without help and protection, leave at the mercy of yourself or others. Stop caring about something. Stop taking care of them. But the landscape want [want it!]to be abandoned

[ever more golf courses, never again!]. Is that his vocation, his destiny.

[Over time maybe the abandonment absorbs the need, absorbs object with which the need manifested].

There is similarity between the representation of the need and the place of its representation.

Between the text and the scene. Between tongue and language. ...

Many small needs, together, become a mass. Without awareness aspire to ransom.

Look for the piè-tas. But, to be shared and supported, [the piè-tas] must be recognized. Must be represent[the piè-tas] in a form generated by the need ....

and the monument to need from pietas lies in the landscape of abandonment in-vulnerably. Admirably.

¶

Author | Beniamino Servino

Published | 5 Giugno 2012

Location | Caserta

Sections | NECESSITA’ MONUMENTALE nel paesaggio dell’abbandono.

Avanzi di corpi al freddo

Leftovers with supports.

Basata su una foto di

ba-sed on a photo by

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XXXII XXXIII

TONO

SU

TONO

/

NUANCES

In spring, from April to May,

the landscape of abandonment is colored with an amount of different Greens that you cannot even count. But many. Ever so many. And every green has its own place.

Lime-green, green-yellow, green tea, dark green, light green, chartreuse, harlequin, spring, lime, green pear pulp office, green mint, celadon, green pea, green peas Findus, moss green, moss green from Northern exposure, green swamp, asparagus, green jade, Persian, Persian green, green, green, green grass, green bottle verona clover, oli-ve, olioli-ve, green olioli-ve, green, green, green camouflage islam marino , transparent green of the Volturno at Cerro al Volturno, Capua, green forest green brown of the Voltur-no, fern, cinnabar, Pine Green, Emerald, jade, Myrtle, teal, teal, green jacket of guardia di Rocca, grey-green uniforms of the guards of public security between 1948 and 1956, green dark green Caribbean tar, pastel green, light sea green, dark sea green natural, green, green copper accelerated oxidation oxidation copper green, green green, green billiard cloth, green slime of the Volturno at the mouth, absinthe green, dark green, light green, greenish, verdello, Sage,rotten green

... Is an Absorbent green.

To be shared and supported the monument has to be recognized as their own. Must be represented [the monument] in a form generated from their linguistic repertoire.

Must show proud its genesis, but also take a hypertrophic dilated boundless dimension. But still recognizable. A liberating anamòrphosis, visionary.

Only then the monument generates astonishment. A wonder for the Reformation. A wonder who will prepare a new balance, a legitimizing amazement.

¶

Author | Beniamino Servino

Published | 5 Giugno 2012

Location | Caserta

Sections | NECESSITA’ MONUMENTALE nel paesaggio dell’abbandono.

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XXXIV XXXV

The

landscape wants to play a series of Botanical worlds who find his story in the past of the great XXXIII chapter of the “Promessi Sposi” novel, which describes and praised the detailed characteristics and peculiarities of an abandoned garden.

During the narrative of the scene are lists various species of plants that are housed inside.

La

vigna

e

la

casa

di Renzo

|| Renzo pensa di chiedere ospitalità a un vecchio amico d’infanzia, la cui

famiglia, come lo ha informato don Abbondio, è stata sterminata dalla

peste; si mette in cammino per raggiungere la sua casa e strada facendo

passa di fronte alla propria vigna, che fin dalla prima occhiata si rivela

in condizioni penose. Dal muro non sporge neppure un ramoscello degli

alberi che Renzo aveva piantati e il cancello è tutto sgangherato; il

gio-vane si affaccia da esso e dà un’occhiata in giro, vedendo tutto in stato

di abbandono. Per due inverni la gente del paese è andata lì a far legna,

approfittando della sua assenza, dunque gli alberi che fanno da

soste-gno alle viti sono strappati o tagliati alla radice; ci sono giovani tralci che tentano di svilupparsi, ma sono soffocati da una selva di ortiche e piante selvatiche, tra cui spiccano l’uva turca, il tasso barbasso, il cardo. Una zucca selvatica ha intrecciato i suoi viticci con una giovane vite

e dappertutto vi sono rovi, che danno al luogo un aspetto disordinato, caotico, trasandato. Renzo, sconsolato, non pensa neppure di entrare in quella che è stata la sua vigna e procede verso la sua casa,

attraversan-do l’orto (anch’esso invaso da ogni sorta di erbacce) ed entrando dalla soglia principale. Al suo arrivo, i topi che popolano l’abitazione corrono

a nascondersi e Renzo vede tutto anche qui in stato di abbandono, col pavimento ricoperto del sudiciume lasciato dai lanzichenecchi, le pareti affumicate, il soffitto invaso da ragnatele. Se ne va ancor più amareggia-to e si dirige alla casetta del suo amico, che dista pochi passi dalla sua ||.

¶

Author | Alessandro Manzoni

Published | 1827

Sections | I Promessi Sposi

[XXIII canto] La Vigna e la casa di Renzo

The

admiration of faceing such a spectacle of decay and abandonment, somehow anticipates that image that will then be developed by Gilles Clément in the second half of the twentieth century ;

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XXXVI XXXVII

(20)

XXXVIII XXXIX

(21)

XL XLI

(22)

XLII XLIII

(23)

XLIV XLV

(24)

XLVI XLVII

(25)

XLVIII XLIX

(26)

L LI

The

proverb

KHOI

|| hapo ge | hapo tama | haohasib dis tamas ka ho bo ||

into English

|| as a dream isn’t a dream until it is a dream of the community ||

The area is a place of “Gardens” articulated in another huge Garden in the soil of Bagnoli

which in turn marks a distinctive spot in the vast territory of the Campania region.

Rather than a conventional victory monument or victimhood, it embodies a vision that seeks to embrace the theme of

M e m o r y

and

I d e n t i t y

in a project designed to Enforce and give Expression to a need strongly felt throughout the country so

to Revert to the past of a land that has become long-denied.

The future of the urban and peripheric landscape is the center of the research about practices able to promote,

within the framework of landscape architecture, effective design strategies able to attribute new ethical, economic and

social values to territory, reconnecting the nutritional, ecological environmental

comfort and quality of life in the urban settlement.

Faceing with the difficulties that our traditional urban systems are experiencing because of relevant economic,

ecolo-gical and social changes, the city will be called to give answer to all problems caused by the increasing densification.

Interpreting the landscape

as a real asset to the nutrition of the planet,

proposing a meeting point/exchange between projects capable of promoting contemporary developments.

Insist in finding design strategies that are able to meet the increasingly growing needs of mankind:

a compact city, dense, but especially fertile, where his Green power beneficial components is used only a few times becoming

often just a small ornamental and aesthetic role games, losing the ability to respond to concrete needs of welfare and production.

“Do environment” becomes both a cultural and landscape action, much as ecological policies and social tool.

Rurality

into

Urbanity

can

be

achieved

only

through

a

high

||technologizing||

of

itself?

SUSPENDED

SPACES

The

landscape

is a living and constantly changing resource,

whose understanding makes it possible to create a symbiosis of integrated

forms of settlement and cultivation, which already in our tradition gave rise to highly effective examples;

They certainly represent a cultural background to draw on and as support to the definition of more viable ways.

Projects where blends landscape and architecture whether with large scale interventions,

covering entire cities and public spaces, or through purely architectural experiences

in which Vegetation is used as building Material.

We

are

surrounded

more than we realize from spaces completely decaied and abandoned in which through

enhancement interventions could trigger urban regeneration processes by working on small or large scale,

light or temporary, creating interventions that developing on cultural foundations,

range and hybridize the different contemporary languages.

Through this research we can have a transformation of abandoned areas, first explored, documented and

analyzed, in a field of investigation for artists, photographers, architects, urban planners, landscape architects and citizens,

by linking the Past, Present and Future and producing a Contemporary reflection

that sometimes only the Arts (in their broadest sense) can generate.

Those Suspended Spaces

look for changing, preserving its Soul and Identity, seizing opportunities that the territory can

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LII LIII

(28)

LIV LV

A

Territorial Section | Longitudinal A

Territorial Section | Trasveral B

(29)

LVI LVII

A NALITICAL DIAGRAMS

D _ I _ A _ G _ R _ A _ M _ S

do not represent just the already existing objects or systems

but “anticipate” a new organization and

specify yet to be realized relationship.

They are not simply a reduction from existing

or-der;their abstraction is “instrumental”, not an end itself.

Simplified and highly graphic, they can be loosely interpreted.

They work as “abstract” machines and

(30)

LVIII LIX

Viability | Path Uses

Marechiaro

to City Center

Nisida

to Pozzuoli

Cavalleggeri

Bagnoli

to Fuorigrotta

p r i m a r y _ c a r F F S _ t r a i n t e r t i a r y _ p e d e s t r i a n s e c o n d a r y _ c a r u n d e r g r o u n d _ m e t r o

Landscape | Network

l i n e a r r o c k y g r o u n d i r r e g u l a r U r b a n g r i d o n d u l a t e d g r o u n d r e g u l a r U r b a n g r i d v i s i b l e m a r k s h i g h d e n s e p a t h s i g n s s t r o n g a r t i f i c i a l l i n e s l o w d e n s e p a t h s i g n s c o n t o r t e d r o c k y g r o u n d

(31)

LX LXI

Surface | Ground patches

Density | Urban use

m e d i u m h i g h l o w m e d i u m / h i g h m e d i u m / l o w

(32)

LXII LXIII

(33)

LXIV LXV

R E-USE OF INDUSTRIAL ARCHITECTURE

By proceeding in the development of the site in order to better define the “artistic” si-tuation of each structure where done specific and deeper analysis until now related to :

_ STATIC Condition [ Health Monitoring] of the main volumes able to be preserved by maintaing its uniformity. _ MATERIAL Quality of each volumes considering its reuse, conservative status and resistence trough time.

After this general but precise review of each Industrial Architectu-re theArchitectu-re was a first “classification” of them that is composed by:

B L O C K A

according to its conformation and configuration cannot be re-used but needs to be carefully preserved and reinforced. Beacause of its origin and use they preserve and keep showing a deep sense of historical past by being emblem and symbols of Bagnoli’s memory as old and relevant siderurgic establishment.

_Candela Coke |

_Batteria Forni Coke |

_Carroponte Moxey | _Ciminiera AGL | _Gabbia Discagliatrice | _Candela Afo | B L O C K B

These are structures that do not have any specific destination but that conside-ring their morphological shape and actual conservative condition can be re-used.

_Torre di Spegnimento |

_Centrale Termoelettrica |

_Impianto di Trattamento Acque TNA |

B L O C K C

These are the most rapresentative ones that more than the other can be re-used and even-tually transformed. Even more, due to its symbolic and functional importance in the histo-rical siderurgic fabric become relevant ponits in all the reqialification process of the area.

_Altoforno |

_Cowpers |

_Officina Meccanica |

_Uffici Ex Direzione |

(34)

LXVI LXVII

Industrial Architecture

mantained volumes

(35)

LXVIII LXIX

1

CANDELA COKE

YEAR OF CONSTRUCTION | 1958

YEAR OF LAST USE | 1990

GEOMETRICAL CHARACTERISTIC | H 95m / r 4m

STRUCTURAL TYPOLOGY | reinforced brick structure covered with concrete plaster

FUNCTION | Disposal of smokes coming from “Batterie Forni Coke”

EXECUTED INTERVENTION | Consolidation_use of me-tallic net on the surface covered by concrete plaster

(36)

LXX LXXI

(37)

LXXII LXXIII

(38)

LXXIV LXXV

2

BATTERIA FORNI COKE

GEOMETRICAL CHARACTERISTIC | 15x40m / area 500mq / volume 5500mc

STRUCTURAL TYPOLOGY | mixed masonry structure with c.c.a.

FUNCTION | Transformation/Distillation of fossil carbon

EXECUTED INTERVENTION | Removal of all perimetral metal-lic elements that where used as access and to protect the volume

(39)

LXXVI LXXVII

(40)

LXXVIII LXXIX

(41)

LXXX LXXXI

3

CARROPONTE MOXEY

GEOMETRICAL CHARACTERISTIC | H 13m / L 65m

STRUCTURAL TYPOLOGY | Steel

FUNCTION | Unload and Collect materials [iron mine-ral] coming from the northen bridge using a system of tie-beam

NECESSARY INTERVENTION | Cleaning and Pro-tection of the metallic surface . Remotion of decadent elements

(42)

LXXXII LXXXIII

(43)

LXXXIV LXXXV

(44)

LXXXVI LXXXVII

4

CIMINIERA AGL

YEAR OF CONSTRUCTION | 1960_64

STRUCTURAL TYPOLOGY | mixed masonry structure and c.c.a

FUNCTION | Disposal of combustible fuels coming from agglomerated

EXECUTED INTERVENTION | Reinforcing ribbing of c.c.a.

(45)

LXXXVIII LXXXIX

(46)

XC XCI

(47)

XCII XCIII

5

CANDELA COKE

(48)

XCIV XCV

(49)

XCVI XCVII

6

CANDELA AFO

(50)

XCVIII XCIX

(51)

C CI

(52)

CII CIII

7

TORRE DI SPEGNIMENTO

GEOMETRICAL CHARACTERISTIC | H 40m / area 280mq

STRUCTURAL TYPOLOGY | mixed masonry structure and c.c.a.

FUNCTION | Disposal of carbon coke coming from “Batterie Forni Coke”

NECESSARY INTERVENTION | Restoration of c.c.a elemen-ts, protection of metallic net, rebuiling of the cls surface. Gene-ral overview of the masonry structure and removal of deteriorated bricks.

(53)

CIV CV

(54)

CVI CVII

(55)

CVIII CIX

8

IMPIANTO TRATTAMENTO TNA

GEOMETRICAL CHARACTERISTIC | H 15m

STRUCTURAL TYPOLOGY | reinforced brick structure covered with concrete plaster.

EXECUTED INTERVENTION | Consolidation_use of me-tallic net on the surface covered by concrete plaster.

(56)

CX CXI

(57)

CXII CXIII

(58)

CXIV CXV

9

ALTOFORNO | COWPERS

YEAR OF CONSTRUCTION | 1957_60

GEOMETRICAL CHARACTERISTIC | H 33m / area 2500mq and 200mq

STRUCTURAL TYPOLOGY | Steel

FUNCTION | Production of the cast iron coming from the introduction at the top level of coke and other materials then transformed to be moved in the Acciaieria

EXECUTED INTERVENTION | Reinforcing and Cleaning of main structural elements

NECESSARY INTERVENTION | Restore and Protection of the ex-ternal surface by using specific vernix. Substitution of stairs

(59)

CXVI CXVII

(60)

CXVIII CXIX

(61)

CXX CXXI

10

UFFICI AREA GHISA

YEAR OF CONSTRUCTION | fine 1930

STRUCTURAL TYPOLOGY | mixed structure in c.c.a.

FUNCTION | Main supervisional offices

EXECUTED INTERVENTION | Added new volumes that are now integrated to the structure and Statical reinforcements

NECESSARY INTERVENTION | Restora-tion of the c.c.a., of the external cls and perimetral walls

(62)

CXXII CXXIII

(63)

CXXIV CXXV

(64)

CXXVI CXXVII

11

OFFICINA MECCANICA

STRUCTURAL TYPOLOGY | Mixed masonry structure of c.c.a.

FUNCTION | Meccanic’s Laboratory. Maintenance offices

EXECUTED INTERVENTION | Substitution of the origi-nal roof. Reinforced masonry structure by using c.c.a. frames

(65)

CXXVIII CXXIX

(66)

CXXX CXXXI

(67)

CXXXII CXXXIII

12

A C C I A I E R I A

GEOMETRICAL CHARACTERISTIC | 205x95m / area 20.000mq / volume 600.000mc

STRUCTURAL TYPOLOGY | Steel and c.c.a for the structural elements

FUNCTION | Trasformation of the fluid cast iron coming from the Altoforno

NECESSARY INTERVENTION | External cleaning and pro-tection by using specific vernix. Substitution of tall decadent elements

(68)

CXXXIV CXXXV

(69)

CXXXVI CXXXVII

(70)

CXXXVIII CXXXIX

(71)

CXL CXLI The identification of existing Ground

“ s c a r s ”

is the starting point from which the

Re-Use of this land can develope his new

face. Without hiding or erasing what is

clearly visible and characteristic but

emphasizing the peculiar marks of the space.

Following a drawing that;

survive from the Past

identify the Present

and drive to the Future.

Human passage, Animals interaction,

in-tervantions of Demolition, Erosion,

Distructive behaviours and Natural effects

will be the New Identity of Bagnoli’s world.

A restoration process that doesn’t

co-ver what is considered as

Contamina-tion or Impurity to be take off but those

ones will become the Distinctive elements.

B o n e s

a n d

V e i n s

of the Body that will be

a l i v e .

Pollution, Leftovers are

repre-sented as new Sculpural figures.

A place that is not Ashemed to show its Soul,

its Origin, its Roots, its Use but will be proud

(72)

(73)

CXLIV CXLV

What is it?

Is the place of Nothing. How can Somthing be Nothing?

The Cohesion of the Different.

E t e r o g e n e o u s

I m p o s s i b l e

B i z a r The birth of the Imagiary.

The Annihilation of Full with Void.

The Harmony of Contrasts.

IS THE NEW DIMENSION

OF THE MERVELLOUS

S U R R E A L How can Surreality become Real?

Do you percive it?

Yes i do!

(74)

CXLVI CXLVII

H IERONYMUS BOSCH

HIERONYMUS

BOSCH

The

Garden

of

Earthly

Delights

An epic map reveals the cavalcade of signs within one of the most

e n i g m a t i c

paintings in the history of art.

|| But I don’t want to go among mad people,” Alice remarked. “Oh, you can’t help that,” said the Cat: “we’re all mad here. I’m mad. You’re mad.” “How do you know I’m mad?” said Alice. “You must be,” said the Cat, or you wouldn’t have come here. ||

Lewis Carroll [Alice in Wonderland] ¶

To write about Hieronymus Bosch’s triptych, known to the modern age as

The Garden of Earthly Delights,

is to attempt to describe the indescribable and to decipher the indecipherable,

an exercise in madness.

Nonetheless, there are a few points that can be made with certainty before it all unravels.

Were there an emphasis, among all the many qualities of The Garden of Earthly Delights, it

would need to be the hidden pictorialization of the mysterious. Translating such an epic work

has never been easy. In fact, it’s still very likely that rather than reaching an idea of what we

ought to believe about it – just about anything not ruled out is but another red herring.

Created by the Flemish painter, Hieronymus Bosch, presumably in the early 16th

cen-tury, the painting first appeared before the eyes of the inhabitants of the Escorial

mo-nastery in 1593. A parade of signs of an unequalled Gothic and theological

presen-ce, even the remotest corners of the painting contain an intimate symbolism on the

creation and the destiny of its time. It’s a symbolism that relies, notably, on both morality and sin.

A triptych, The Garden of Earthly Delights is split into

three stages representing Paradise, Madness and Hell.

¶

Author | Lewis Carroll

Title | Alice’s Adventures in Wonderland

Editor | Macmillan Publishers

(75)

CXLVIII CXLIX H ieronymus Bosch

The Garden of Earthly Delights

c. 1480-1505 [oil on panel, 220 x 390 cm]

(76)

CL CLI

NATURE

/

ENVIRONMENT

N

a

t

u

r

e

perhaps the most complex word in the language...

in its complexity there is the question about the ambiguity of

whether nature includes Human Being or not.

The analysis related to the connection between

humans and what surrounds them.

Starting from this thought

we can see how the word nature is often replaced by

the word Environment as;

[what surrounds humans]

s o

[all that is not human].1

A theorist | STERLING BRUBAKER

In the 1970s analysed the way in which

the velation between us and the environment

was changing and developing

through time, arriving to a final conclusion

in which he said || in truth, Man is Hard to make himself Comfortable || 2 ¶ 1

Author | Leo Marx

Title | The idea of Nature in America

Nature; for a different kind of Globalization [p. 37-62]

Editor | Nadia Tazi

Publication year | 2005

¶ 2

Author | Sterling Brubaker

Title | To live on Earth

Man and his Environment in perspective [p. 55]

Editor | Baltimore and London

Jan Brueghel & Peter Paul Rubens

Le Jardin d’Eden

(77)

CLII CLIII

W

I

L

D

E

R

N

E

S

W

i

l

d

e

r

n

e

s

as the idea of a Natural space that

has no contamination from the Human presence

by leaving the real soul and identity of Nature.

A balanced harmony between Man and Nature

is now a mere ideology and utopia, since

have been destroying for years.

|| Man is not unique in having altered his environ-ment. All living creatures alter the environment in one way or another, and then the altered environ-ment alters them back. There is a chain reaction that goes on, giving rise to what we call evolution ||

As FULLER FRANKLIN said:

|| a bird modifies its habitat the moment it build a nest,

but in due course,

the environment transforms

the bird’s behaviour and existence, just as

it has transformed

h u m a n s

in many respects || 3

Obviously the influence that humans had in shaping

the nature is different according to time and culture,

as each moment of the history reinterprets this connection.

With the growing of civilization and technology this

relation has never stop molding, where humans always

develop the un-natural desire of controlling natural worlds.

Choose its process and final outcomes, adopt needs to

nature in order to achieve a “perfect life”, without facing

the reaction that is often catastrophic. ¶ 3

Author | Fuller Franklin

Title | containing Fuller’s inaugural lecture of the Littleton Franklin Lectures

at Auburn University

Editor | Collier Books

(78)

CLIV CLV

NATURES

IDENTITY

Until

now

we can see an always growing/increasing position

of architects|designers|gardeners|landscape architects and

so on, that are facing this field with many different approach.

One of the most influent in the theory of an untouched

Natural world is GILLES CLEMENTS |

_Manifeste du Tiers Paysage

_Jardin

Planètaire

He focused his theory in the “return” of spaces to its Natural Roots and Identity

rather than building on it or destroying them but maintaining and protecting its

ecological biodiversity, leaving it to more, change and be transformed by

its own necessity.

As well as PHILIPPE RAHM that in his analysis he include even all the external

factors that can be influent as Light, Wind, Temperature, Climate, Humidity,

that has a physical influence on the ecosystem. 4

Gilles Clèment divided the space in Three main Categories:

_Dèlaissès [Transitional Space]

_Rèserves [Undeveloped Space]

_Ensembles Primaires [Preserved Natural Space]

In this way his approach to the environment was more like a Gardener

who carefully observe and listen a garden, its plants and flowers,

animal and ecosystems, climatic factors by saying

|| Observation is

the ideal mode

of gardening

for tomorrow || 5

In this way with a delicate and light position his assume,

is able to understand Nature’s evolutionary process and so follow and bring its forces. ¶ 4

Author | P. Rahm, G. Clèment, G. Borasi

Title | Environ(ne)ment: Approaches for Tomorrow Form and Function follow Climate

Editor | Bilingual Edition

¶ 5

Author | G. Clèment

Title | La Sagesse du Jardinier [p. 43]

Editor | L’oeil neuf Edition

JAPANESE

SENSIBILITY

P

a

r

a

l

e

l

to this concept we can see also how the Japanese approach of gardening is a way of religious importance. Garden becomes a

new spiritual world where people find themselves by connecting with Nature and so with the Universe. Related to this

cul-ture an important architect as KENGO KUMA develped his “Japanese Sensibility” by working on projects where he would

“ erase architecture ”

In this way the gardener can install a deep connection with the surrounding environment, creati

ng a ba-lance between himself, flora and fauna, transforming and molding the space both with an active and passive approach. 6

Guiding the evolutionary process enhance each species, creating a collaborative system between them

in order to facilitate any change or unexpected evolution. 7

¶ 6

Author | Kengo Kuma

Title | Gardening versus Architecture [p. 46-49]

Editor | Lotus International 97

¶ 7

Author | J. Baptiste Lamarck

Title | Clement’s Nuages [p. 10]

Editor | Beyond

(79)

CLVI CLVII

JARDIN

EN

MOUVEMENT

F

o

l

o

w

i

n

g

this theory, Clèment always try to let Nature and its process to be “free” without forcing its evolution or expansion but

gui-ding it, making space for “unpredicted” or “undetermined” events, since nature can be observed and not precisely predicted

on what is going to happen. How animals, insect, climate can influence a behaviour of vegetation in negative or positive way.

This is the main roots of the theory he exposed of “Jardin en Mouvement”.

A concrete exemple of this concept was applied in one of his project

_PARC ANDRE’ CITROEN

P a r i s _ 1 9 9 2

Defined as “paradise of weeds”

where he aimed to create a new kind of nature

in which it can follow its course sppontaneously

as a sort of “wilderness” 8

even with a designed

p r o j e c t

If we become observer of Nature we can see how they grow respecting its own identity and soul. Everything pure

and free become more beautiful and that’s how, without any strong human imposition on the environment it can

re-alize its biological potentials, becoming a sort of sculpture that attract not only people but all natural elements.

|| I don’t separate

Humans from the rest of the

Ecosystem ||

|| The role of Human in the Environment

is to understand how it functions and

to promote its continuos evolution.

Since man is just one species among the great diversity ||

¶ 8

Author | Alain Rogers

Title | From the Garden in movement to Planetary Garden [p. 72]

Editor | Lotus Navigator 2

THE

TIERS

PAYSAGE

If

we

consider that everything is “intersected” between each other, plants, flower, animals, insect, Us we can envision a sort of

glo-bal Equilibrium, where none has to overcome the other but communicate. The final result can be absolutely Mervellous.

We would all live better and everything would be in harmony.

Chaos, Diversification is not always a matter of negative aspect. From it, can comes out a great variation of Richness that makes unique every single species.

_Jardin en Movement

_Jardin

Planetaire

|| Everywhere there are spaces that

are “waiting” “suspended”.

Generated abandoned/wasted areas

claiming for a Future. || 9

From an Abandoned Place, where we can have Wastes, Excesses, Leftovers, Refuses, Scraps,

Rub-bish. A land that is Wild, Marsh, Bog, Consumed, Ruined, Decayed....a land that seems Lost.

We can unexpectedly have a rich system of biodiversity, that if are helped, guided and

Recognized, it can generate a New World, a “Biological Time Capsule” for the future.

¶ 9

Author | Gilles Clèment

Title | Manifest du Tiers Paysage

Editor | Sujet/Objet Edition

(80)

CLVIII CLIX

THE

TIERS

PAYSAGE

The

Third

Landscape

an undetermined fragment of the Plantary Garden -designates the sum of the space left over

by man to landscape evolution - to nature alone.

To these unattended areas can be included also space set aside , reserves in themselves: inaccessible places,

moun-tain summits, non-cultivatable areas, deserts; institutional reserves: national parks, regional parks, nature reserves.

Compared to the territories submitted to the control and exploitation by man,

the Third Landscape forms a privileged area of receptivity to biological diversity.

Cities, farms and forestry holdings, sites devoted to industry, tourism, human activity, areas of control and decision

permit diversity and, at times, totally exclude it.

The variety of species in a field, cultivated land, or managed forest is low

in comparison to that of a neighbouring « unattended » space..

From this point of view, the Third Landscape can be considered as

|| the genetic reservoir of the planet, the space of the future || 10

Viewing the Third Landscape as a biological necessity, conditioning the future of living things, modifies the

inter-pretation of territory and enhances areas usually looked upon as negligible. It is up to the political body to

organi-ze ground division in such a manner as to assume responsibility for these undetermined areas, tantamount to concern for the future.

The Third Landscape is of interest to the planning professionals, the designer, led to include in his project an

unor-ganized space or to designate as public amenity unattended areas created, voluntarily or not, by all land use.

¶ 10

(81)

CLX CLXI

THE

TIERS

PAYSAGE

The

term

Third Landscape derives its name from a landscape analysis of the site of Vassivière in the Limousin ordered by the “Centre d’Art et du Paysage of Vassivière” in 2003. The study indicated the binary character of the area: one side in the shade with forestry holdings, essential-ly Douglas Firs, a landscape under control of the forestry expert; on the other side, light, with cattle and pasture land, principalessential-ly devoted

to cattle fodder, a landscape under the surveillance of an agricultural engineer. Although the shade/light mass apparently covers the entire

area, there is a hidden element. An analysis of existing species indicates that their limited number does not correspond to the average to be

expected in the space analyzed. A third territory in Vassivière , composed of moors, peat bogs, riparian forest, steep embankments, road ditches

and shoulders, serves as a receptacle for the varieties chased from the cultivated areas, capable of subsisting in the climate and on the land.

The term Third Landscape does not allude to the Third World, but to the Third Estate. It is a referral to ABBÉ SIÉYÈS’ question:

|| What is the Third Estate? Everything

What role has it played to date? None

What does it aspire to? Something || 11

- - -

-The only sizeable project with an actual “scenography” (scénographie) of the Third-Landscape is the

_ [Matisse Park in Lille]

where the Ile Derborence, a central rock mass, 7 metres above ground, has been planted over a

surfa-ce of 3 500 square metres with a “model forest” in a natural setting. Inacsurfa-cessible but monitored, the Island

ser-ves both as matrix and guide line for the most economical management possible of eight hectares of public park.

¶ 11

G

A

R

D

E

N

S

1 [ La Vallèe | 1977_Limousin_France]

_ Jardin Bosique _ grasses, bulbs, shrubs, busher, trees, in a neglected place for years.

_ Jardin en Movement _ everything moves, intersect, changes, grows and can produce an overlapping global events.

|| When an apple tree Fell,

its trunk created an obstacle that

had to be bypassed,

which inspired a creation of

an “island” of grass around it ||

So garden takes shape not only on drawing board, but on Site.

|| Flowering of the Mulleins, once have gone to seed, they die...their

delica-te seeds are transpordelica-ted by the wind as well as the movement of humans or animals passing through and so,

Germinate Whatever bare ground Welcome Them ||

2 [Le Champ | 1993_Limousin_France]

_ 50 different spiecies: Spiked, Speedwell, Soapwort, Yarrow

_ Soil: Poor, Dry: able to host plants that can adapt to a “cruel” ground. Here a poor soil can go with pure biological identities.

It is a botanical and entomological observatory, where by walking through them we can

obser-ve, contemplate even closer the ecosystem that is Moving [Insect behaobser-ve, Harmonic flowing.] A platform

(82)

CLXII CLXIII

FROM

THEORY

TO

PRACTICE

G

e

n

e

r

a

l

y

the Third Landscape is discussed in relation to its design and its actual feasibility. In this way we should recognize that this proposal of Clément

is certainly has some contradictions. Can really a “supended” space constitute a basis for a different landscape design? Is it really possible to use

as model the uncultivated and abandoned space who find their meaning in the concept of borders? We can think of a project that shed light

on what is obscured? Sometimes it wouldn’t. On the other hand is still Clément to admit the fact that by institutionalizing the Third Landscape

means denying its critical potential. And in places where the abandonment is authentic, remains just few things to be designed. What emerges

is no longer hidden and what is hidden is not marginal. To summerize, the Third Landscape that becomes a project risk to be canceled in itself.

We are wondering, if the questions about his practical availability fully meet the complexity of the Clément proposal.

Land-scape is not only a universe in which design. Let’s see things from a different perspective; Flip the question and ask ourselves

not

what

we

can

do

to

the

third

landscape

but

what

it

can

do

for

us.

Unlike in the design, if you look at things from an ethical point of view, the Third Landscape is able to express all its critical potential.

Indeed, it could be argued that it is precisely in this Ethics that it works. Just follow a few

s t e p s

of his “Manifesto” to realize it.

_1_ the waste lands, weeds, or whatever replaces a refuge for biodiversity (both animal and vegetation).

Is a mistake thinking that they do not have any specific value; weeds are home for species and living bodies; in them manifest and propagate lives. Those are

l i v i n g

species which accommodate other living being.

_2_ concerns more specifically the sphere of our activity, or rather the Act of gardener that Clément seems to

stron-gly support; the act of leaving free this weeds that is often under our control. But this is not a dialectical “escamotage”.

The Non-Acting

of Clément is the result of a conscious action, the Planetary Gardener, which aims to elevate biodiversity that is in

margi-nal areas to a universal heritage in order to recognize the vitality value that it possesses; It is then a matter of showing a

decla-red intention, a choice. The Not-Doing, therefore, as the scope of moral action precisely because its used as an action model.

All these reasons lead us to reflect that if we agree with the Clément landscaping project/idea, it is necessary to consider the

mo-ral challenge of his proposal before assessing his immediate use. The real Clèment is not to be found in his accomplishments but in

his Theoretical model.

In fact, it is necessary to take an “innovative attitude” towards all that surrounds us and give back dignity to the whole context of the living world.

Welcome and not drive away

is the imperative of Gilles Clément. The Manifesto of the Third Landscape cannot be accepted as an attempt only capable to

pro-duce useless grass fields, because it is in these spaces that can be propro-duced an interesting biological context. We have to change the way

we act on landscape to fully exploit the biodiversity that it has and to also differently assess the expressive quality of the landscape itself.